From American Internet Celebrity to God Among Men

214: Chapter 214 The Echoes of the Golden RatioTaylor’s struggle with the algorithmic tools finally reached a breakthrough moment.

She had been trying to use different constant ratios to generate pitch sequences.

The Golden Ratio (φ ≈ 1.618) was one of her primary test subjects, as it exists widely in nature and art, inherently carrying a universal sense of beauty.

When the tool generated a pitch sequence based on the continued fraction expansion of φ that seemed chaotic but actually contained strict proportional relationships, Taylor was not satisfied at first—it sounded too ”mathematical” and lacked emotional warmth.

She was almost ready to abandon this sequence and try other combinations.

But just before she was about to close the window, her finger accidentally brushed against a parameter slider, slowing the sequence’s playback speed by four times and adding an extremely long, smooth fade-in and fade-out envelope to each note.

The sound effect changed instantly.

Those originally stiff, jumping notes, in the extremely slow speed and long sustain, connected into a winding, tranquil ”river of sound” that seemed to flow slowly in deep space.

Its inherent mathematical proportions were no longer jarring; instead, they transformed into a profound sense of rhythm that felt inevitable, mysterious, and solemn.

Taylor held her breath, listening repeatedly to this short loop of a dozen seconds, a shiver running up her spine.

”This is it...” she muttered to herself, immediately calling Alex over. ”Listen! This isn’t a melody; this is... ’the structure itself singing.’ It doesn’t express happiness or sadness; it expresses a certain fundamental rhythm of ’existence.’ Using it as a symbol for the ’cosmic order’ in the wind on the mountain peak could not be more perfect!”

Alex closed his eyes and listened, also feeling that cold, vast beauty that transcended human emotion.

It fit perfectly with the imagery of the ”rational cornerstone” they wanted to express.

”That’s great. This proves our direction is right—letting mathematics become the invisible ’gravity’ of music, rather than just surface decoration.”

They decided to use this ”river of sound” generated based on the Golden Ratio as the low-frequency cornerstone and structural background for the entire work, running through it from beginning to end.

Other constant encodings (such as rhythm grids generated from the proportional relationship between the speed of light and Planck’s constant) would be interwoven as more subtle ”textures.”

Taylor began to use this as an anchor point, conceiving how the themes of Bach and the singing of nightingales would emerge, intertwine, and transform within this rigorous and spacious ”sound field.”

The artistic conception took a big step forward.

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A few days later, Team K sent over a summary of the phased consensus on the ethical discussions regarding the ”active listening” experiment.

They did not make a final decision on whether to ”do” or ”not do” it, but instead established a more operational and philosophically deep decision-making framework, calling it the ”Principle of Two-Way Humility.”

The framework contained two core elements:

1. The Humility of Sending: We acknowledge that any information sent in the name of human civilization is inevitably one-sided, incomplete, and deeply limited by our current cognition and culture.

Therefore, the content of the information must explicitly include this ”declaration of self-limitation” (possibly at the encoding level).

The act of sending itself should not be viewed as ”representing” but rather as ”sharing a ’sound sample’ or ’thought fragment’ from a specific perspective on Earth.”

The energy level of the transmission must be kept within the range of a ”polite whisper,” far below any threshold that could be misinterpreted.

2. The Priority of Listening: Before implementing any active transmission, a long-term, in-depth, multi-dimensional ”listening plan” must have been established and committed to.

The reception, analysis, and understanding of potential signals will always have a higher priority than transmission.

The transmission itself should be viewed as a special node in this grander ”listening-understanding” process, a highly restrained ”self-introduction” attempted only after accumulating enough ”listening” (even if nothing is heard).

After the transmission, one must immediately return to a more focused listening mode.

Furthermore, the framework suggested that if the final decision is to send, the wind on the mountain peak should not be a single event, but the first ”dossier” of a long-term project called the ”Human Soundscape Archive.”

In the future, every long period (such as several decades), when milestones in technology, art, and ethical thinking are reached, one could consider creating and sending new ”dossiers,” continuously but extremely sparsely updating this ”sound diary.”

”This framework is good,” Alex said to Taylor. ”It frees us from the heavy pressure of ’whether to represent humanity’ and positions us more honestly as ’sharing our current thoughts and creations.’ At the same time, it emphasizes that listening is more important than speaking, which aligns with the scientific spirit and our identity as ’translators.’”

”And the metaphor of a ’sound diary’ is beautiful,” Taylor said. ”Not a one-time shout, but a continuous, slow whisper that changes as we grow ourselves. This makes me feel an even greater sense of responsibility in creating the wind on the mountain peak, because it is the first page of this ’diary’ and must be sincere enough, open enough, and beautiful enough.”

They decided that while creating the wind on the mountain peak, they would also assist Team K (within safe limits) in refining and deepening that ”listening plan.”

This made them feel their roles were more balanced—not just potential ”speakers,” but also continuous learners and listeners.

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The ”Community Empathy Design Process” faced its first real, complex challenge: a medium-sized public library approached the Echo team, hoping to resolve the long-standing acoustic conflict between the children’s reading activity area and the adjacent adult study area.

The children’s area inevitably had laughter, running, and loud reading; the study area required absolute silence.

Simple physical partitions (glass walls) existed, but sound penetration and visual distractions still caused complaints.

The library had tried using them at different times, but the results were poor, and users on both sides were dissatisfied.

Marcus and his team did not directly provide a ”filter” solution, but instead, following the process, first organized a multi-party workshop that included librarians, students who frequently studied there, parents with children, and child education experts.

At the workshop, they guided everyone to step out of the opposing mindset of ”quiet vs. noisy” and redefine the problem: how to respect the core needs of different groups within a limited shared space and create a positive coexistence experience?

The students admitted that a completely deathly silent environment could sometimes be oppressive, and that moderate, blurred ”background sounds of life” were not necessarily all interference.

Parents hoped that their children’s activities would not always be ”looked down upon” and also hoped that their children could feel the library’s tranquil atmosphere.

The librarian provided a key insight: conflicts often erupted due to sudden changes in the ”nature of the sound”—for example, a child’s excited shriek contrasted with the continuous page-turning and keyboard-clicking sounds in the study area.

Based on these findings, the team proposed a combined solution:

1. Soundscape Guidance: Set up cute visual signs and soft prompts at the entrance of the children’s area and the activity area, guiding children and parents to play ”library sound games” (e.g., ”Can we walk like little kittens?” ”Can we buzz and speak quietly like bees?”), turning volume control into a fun interaction.

2. Sound Buffer Layer: On the side of the study area closer to the children’s area, introduce an extremely low-volume, non-melodic, soothing natural sound background (e.g., extremely gentle stream sounds, wind blowing through leaves), played through hidden directional speakers.

This layer of ”sound buffer” could slightly mask the occasionally penetrating children’s noise while providing a more comfortable, less ”vacuum-like” acoustic environment for the study area.

3. Flexible Physical Partition Optimization: Based on the existing glass walls, add some soft decorations with good sound absorption (e.g., tapestries, green plant walls) and adjust the furniture layout to visually create clearer ”psychological boundaries.”

The core of the plan was not to eliminate sound or create absolute isolation, but to ”manage the nature and perception of sound” and provide both sides with more control and psychological comfort zones.

The library decided to pilot this plan.

Preliminary feedback was encouraging: children reacted positively to the ”sound games,” and incidents of loud shrieking decreased; students studying reported that the soft background natural sounds actually helped them focus, increasing their tolerance for the occasional child sound; parents felt more relaxed and were no longer constantly in the tension of ”disciplining.”

”We have learned another lesson,” Marcus summarized. ”Sometimes, the best solution is not the most technically complex one, but the one that most cleverly understands and guides the ’human’ factor. Our process is like a set of conversational tools that help people better understand each other’s ’sound needs.’”

Alex praised this case.

It proved once again that the core of the Theia Project—understanding how information (in this case, sound) is perceived, translated, and negotiated—has powerful practical value on a micro-social scale as well.

At night, Alex and Taylor rested on the balcony.

Taylor hummed the variations of that ”Golden Ratio river,” while Alex thought of the students and parents in the library whose brows had smoothed out because of a little ingenuity in sound design.

The cold proportions flowing from cosmic constants had turned into a solemn, star-filled chant in the hands of the artist.

The grand ethics of sending information to deep space were anchored in pragmatism and reflection by the ”two-way humility” framework.

The daily troubles in the community library found a gentle balance point through understanding and guidance.

All of this, seemingly in completely different dimensions, revolved around the same core: how we coexist and interact with the information of the ”other” (whether it be mathematical laws, the shadows of the starry sky, or the strangers around us), and create a richer, more inclusive space of meaning.

And he and Taylor were on this path, learning, creating, and connecting in their own ways.

This process itself, like that sound river based on the Golden Ratio, contained rigorous laws within it, yet flowed with a warm and far-reaching Echo.

He held Taylor’s hand, and the two quietly looked at the city lights and the dark canopy in the distance.

There, perhaps there were listeners, perhaps not.

But on Earth at this moment, they were striving to learn how to better listen to each other, and how to more responsibly send out the gentle and clear voice belonging to human civilization at this moment, in all possible directions.